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A deep and powerful onslaught from hell. Trey Gunn's back with his touch guitar but the bass and drums are eating him up. Great song! There's a blues vibe to this one early and Jones treats us with an organ solo too before 3 minutes. Later we get some orchestration from the London Symphony Orchestra which is a nice touch. Check out the organ that's still ripping it up. One of the best tracks on here. Man can Jones play guitar or what? This is tight man.
Heavy duty too. The bass lap steel makes some noise 2 minutes in as it turns into absolute chaos. This is so close to 5 stars for me. He can't fool me though. All of the best songs were actually contributed by Mr. John Paul Jones! And this instrumental album actually proves it one crunchy bass line at a time! Zooma is one really heavy album that will most likely put many of Led Zepplin compositions to shame.
I'm not talking about the production values which are understandably superior to Zeppelin's 70's records but Zooma is dominated by the heavy sounding bass which really makes these compositions almost sound like the later King Crimson material. This can actually also be contributed to Trey Gunn soloing on some of the tracks with a Crimsonesque type of vibe. This is truly a must have album for fans of heavy prog music. So if you are lucky enough to find this album, grab it and never let go!
Pete Thomas,album's drummer, is real hero of this record as well - it's often quite difficult to say if this album isn't drummer's solo release. Paul Leary is competent guitarist and Trey Gunn's Warr guitar sound in many places gives you very Crimsonian feeling. I have quite mixed feeling after some listening of this album though.
Great energy, some groove and very competent musicianship from one side, and quite simplistic, straightforward compositions from the other. Bluesy roots here and there. Missing link between Led Zeppelin and post King Crimson? Possibly yes, but never as good as Led Zeppelin or King Crimson itself. Easy accessible music though, could have more fans I believe.
In many places I felt Plant vocals would be a great improve of the compositions. This is a groovy kind of album where his bass is all over the places, lots of great chops here with plenty of experimental twists and atmosphere.
All album is instrumental and on each tune JPJ show that he is apt to call him one of the best and most influencel bass players ever. Zooma has many great moments on pieces like Zooma, Grind or Bass n' Drums. The album overall has a progressive direction and the arrangements are intricate and well performed. This a a fairly solid album that will please most of the experimental instrumental albums with crunchy bass parts.
He also hid some "big tricks" under the Zep's big hat.!!.. If the "riffs" were not Jimmy's they were "Jonesy's". But, as a well versed multi-instrumentals, he is also well aquainted with less prog oriented flavors like country, rag, funk and also the Renaissance-like styled compositions.
Zeppelin's "Houses of the Holy" prog-funk orientation is one of his evident contributions to the band, as "No-Quarter"; one of the most prog oriented, Zeppelin songs. The experience is quiet a thrill, being for starters, that JPJ stands outside the "Zep's" enormous shadow, but would not sacrifice his own language and intention, in the way. AllMusic relies heavily on JavaScript.
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John paul jones zooma download. John Paul Jones
Relive your first crush, first kiss, favorite moments and all the life lessons with Topanga, Eric, and Shawn. The Execution of Bonny Lee Bakley. The prime suspect was her husband, famed actor Robert Blake. But Bonny, a longtime con artist, had plenty of enemies.
Not since the O. Simpson case had the eyes of the nation been so fixated on a homicide. When I master, I usually try different formats to see what sounds best. It's horses for courses.
They have the right equipment and an engineer with a great pair of ears who hasn't been listening to the thing for months. As it turns out, they didn't have to do much to it — half a dB here or there, that's all.
I generally work with Richard Evans, the house engineer at [Peter Gabriel's studio] Real World, and he looked after the recording of the album. We used a live drummer, then I replaced all my parts after the basic recording was done.
We had time set aside for mixing, but then I got 'flu which kept me out of it for about a month, so in the end we didn't have much time left.
Then Peter Gabriel called Richard and offered him a project he couldn't refuse, so I got him to mix three of the shorter tracks, then decided that rather than getting in another engineer, I'd mix the rest myself. I can mix most things; all I had to do was learn how to mix drums. I thought, 'What am I going to do with this? Basically, I worked from the overhead mics downwards trying to fit everything together and get it to a manageable size.
I didn't use much EQ, and just a little compression. If something didn't sound right, I tried to fix it by rebalancing it rather than reaching for the EQ. It's only when something was really impossible that I'd hit it with EQ or something. Can you elaborate on how you use the Pro Tools system? Pro Tools is capable of both recording and mixing, yet you have a Euphonix CS digitally-controlled analogue console.
Rather than leaving a cut to the desk automation, I'll literally cut the waveform in Pro Tools to delete anything I don't want. That way you don't have VCAs banging in and out all the time.
You can also clean up squeaks and other noises on guitar parts — though I tend to leave my squeaks in because it's part of the sound. I try not to overclean things, but with guitars, there's often a bit of noise before a part comes in that can be usefully silenced. On one track called 'Snake Eyes', there was a point where the strings first come in that sounded a little bit at odds with the steel guitar. I didn't want to retune the orchestra to a funny tuning because then the organ comes in and it all kind of glues together.
It was just on a couple of little run downs where the intonation wasn't quite right, so I just moved the steel part down by a few cents and it all worked.
Desk automation systems are always a little unwieldy for trying to hit just one or two notes, so it's easier to pull down the offending parts in Pro Tools using the graphical envelope editor. This album features mainly drums and bass guitar, with additional reprocessing and textures generated by Symbolic Sound's Kyma sound design and synthesis system [see the ' More On Kyma ' box].
The result is quite eclectic, and I'm curious to know how you conceived it. That's the way I like to play rock and roll; in fact the only programmed sounds are the sound effects.
As you say, those came from Kyma, which can do any kind of synthesis you can imagine, FM, additive, granular, phase vocoding It is potentially complex, but I've always been interested in the possibilities computers could bring to synthesis, which means Kyma doesn't present the learning curve for me that it might to some people.
I've followed computer synthesis techniques through the ages and I used to regularly go to electronic music concerts in the late '70s. I was brought up on analogue VCS3 synths in the early '70s, and in fact the suitcase model was my idea It had such a great patchboard and was much more flexible than the Minimoog, though the filters never sounded as good.
I always felt sorry for the guys whose first synth was the Yamaha DX7, because they didn't have that analogue background. I actually quite enjoyed programming FM sounds.
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Great opening track. Brilliantly recorded though and great musicianship as you would expect. One person found this helpful. Particularly for The Smile of your Shadow Great stuff!
Particularly for The Smile of your Shadow a big favourite. The hidden talent behind some of the greatest rock music of our times. I bought this because I really like Thunderthief but this is not nearly as good. Too heavy for the most part. JPJ has taken his time over this first solo release nearly 20 years but it's been worth the wait. The album clearly shows the talent of the man, with varying styles of music from Rock, Blues, Soul and grunge yes grunge!
I found myself drawn to the music immediately, and I was quickly immersed into the sounds with an overall feeling of wonder. It's not a new Led Zeppelin record, but it's the closest anybody yes anybody! Social distancing is mandated, masks are required and available for free, along with abundant hand-sanitizer.
This year additional entrants in the 30th Annual Gingerbread Contest are on display in 20 downtown Portsmouth shop windows. Photo by Raya on Assignment. The baking and decorating are done. The official awards are won. Now you can see more than 80 edible entries from the 30th Annual Gingerbread House Contest and Exhibition. Twenty are on display in a special new way—in shop windows across town.
The idea of putting exhibitions in storefront windows was actually first conceived when the Portsmouth Historical Society was planning its recent quilts show.
While the primary exhibition of 65 gingerbread creations can be seen seven days a week through December 22 at the Discover Portsmouth Welcome Center, downtown shoppers can see many through store windows. Young people who want to locate them all can join a scavenger hunt. Mathieson points to a mother-daughter team from out of town who followed the scavenger hunt from store to store last week. She learned more about Portsmouth and its history in one day than I have learned in my 30 years of living here!
Liz Rodgers, owner of the boutique Lizology at 16 Market Street says the contest is giving parents, kids, shoppers, and walkers a safe way to interact during the holiday. Historical Society exhibitions manager Meredith Affleck recalls discussing the idea while socially distanced with committee members last August. Welcome Center associate Robin Albert floated the idea during a Chamber of Commerce Zoom meeting and received an enthusiastic response.
The tricky part, Affleck says today, was managing the number of participants so there would be enough houses to go around. And not just houses. The winning professional entry offers an uncanny candy recreation of Ceres Bakery. Would totally do it again. Getting people outdoors, walking downtown in the crisp fresh air, and enjoying the holiday decorations is just one bonus of the gingerbread tour, says Meredith Affleck. COVID precautions include mandated masks, social distancing, controlled attendance, and a one-way path through the exhibition.
The Museum Store also offers curbside pickup and local delivery.
John paul jones zooma download
Zooma 3 2. Grind 3. The Smile Of Your Shadow 3 4. Goose 5. Bass 'n' Drums 2 6. Fingers 7. Snake Eyes 8. Nosumi Blues 9. Tidal Total time It opens with the sound of sea gulls and waves, but don't be fooled because there is a storm coming like nothing you've ever experienced. Jones comes in on his 10 string bass and shakes the foundations. Oh my! Talk about the bass from hell! The drums are heavy and we get this sick guitar solo later. Some strange sounds from an instrument called a kyma that fits the mood perfectly.
Monster track. Some massive bass comes and goes. Jones has his 12 string bass out for this one and he's making sounds that are coming from the depths. There's a brief conversation part way through. Trey Gunn follows that up with a touch guitar solo as the drums pound and the bass shakes the windows. Killer bass as usual. Fantastic rhythm. You have to hear this guy's bass man.
A 12 string bass that should come with a warning label. A wall of sound after 4 minutes then it calms down until it ends. Fingers" hits the ground running, no it digs up the ground actually.
A deep and powerful onslaught from hell. Trey Gunn's back with his touch guitar but the bass and drums are eating him up. Great song! There's a blues vibe to this one early and Jones treats us with an organ solo too before 3 minutes. Later we get some orchestration from the London Symphony Orchestra which is a nice touch. Check out the organ that's still ripping it up. One of the best tracks on here.
Man can Jones play guitar or what? This is tight man. Heavy duty too. The bass lap steel makes some noise 2 minutes in as it turns into absolute chaos. This is so close to 5 stars for me. He can't fool me though. All of the best songs were actually contributed by Mr. John Paul Jones! And this instrumental album actually proves it one crunchy bass line at a time!
Zooma is one really heavy album that will most likely put many of Led Zepplin compositions to shame. I'm not talking about the production values which are understandably superior to Zeppelin's 70's records but Zooma is dominated by the heavy sounding bass which really makes these compositions almost sound like the later King Crimson material.
This can actually also be contributed to Trey Gunn soloing on some of the tracks with a Crimsonesque type of vibe. This is truly a must have album for fans of heavy prog music.
So if you are lucky enough to find this album, grab it and never let go! Pete Thomas,album's drummer, is real hero of this record as well - it's often quite difficult to say if this album isn't drummer's solo release.
Paul Leary is competent guitarist and Trey Gunn's Warr guitar sound in many places gives you very Crimsonian feeling. I have quite mixed feeling after some listening of this album though. Great energy, some groove and very competent musicianship from one side, and quite simplistic, straightforward compositions from the other.
Bluesy roots here and there. Missing link between Led Zeppelin and post King Crimson? Possibly yes, but never as good as Led Zeppelin or King Crimson itself.
Easy accessible music though, could have more fans I believe. In many places I felt Plant vocals would be a great improve of the compositions.
This is a groovy kind of album where his bass is all over the places, lots of great chops here with plenty of experimental twists and atmosphere. All album is instrumental and on each tune JPJ show that he is apt to call him one of the best and most influencel bass players ever. Zooma has many great moments on pieces like Zooma, Grind or Bass n' Drums.
The album overall has a progressive direction and the arrangements are intricate and well performed. This a a fairly solid album that will please most of the experimental instrumental albums with crunchy bass parts. He also hid some "big tricks" under the Zep's big hat.!!.. If the "riffs" were not Jimmy's they were "Jonesy's". But, as a well versed multi-instrumentals, he is also well aquainted with less prog oriented flavors like country, rag, funk and also the Renaissance-like styled compositions.
Zeppelin's "Houses of the Holy" prog-funk orientation is one of his evident contributions to the band, as "No-Quarter"; one of the most prog oriented, Zeppelin songs. The experience is quiet a thrill, being for starters, that JPJ stands outside the "Zep's" enormous shadow, but would not sacrifice his own language and intention, in the way.
So this project is more directed towards un-structured experimentations-like songs, very un-Zep , within a limited range, of course. The use of opposite styles, prog and not, are wisely used, as not to become the songs themselves but part of the "whole" song.
So with a touch of different styles in some songs, the "transitition", turns out more like a "Jonesy" project than Zep's. The music in this one is really heavy prog combined with ambient music, it has a lot of influences of King Crimson, as one of their members Trey Gunn pa I'll begin this review by saying that Led Zeppelin and King Crimson are my two favorite bands.
Overall, this album by LPJ sounds more like a demo than a finished product. That is really unfortunate. I hear a lot of good foundations and ideas that could have been further developed into outst You must be a forum member to post a review, please register here if you are not. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever.
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